The First Art Newspaper on the Net    Established in 1996 Thursday, December 9, 2021


Unit London opens an exhibition of works by Oh de Laval
Oh de Laval, Sex First, Oysters Later, 2020, acrylic on canvas 70 cm x 60 cm x 3 cm, courtesy the artist and Unit London.



LONDON.- Above all, Oh de Laval is interested in human behaviour; the decisions we make, why we make them and how we feel as a result. These decisions are windows into our very personalities. In this spirit, each of de Laval’s paintings acts as a window into her character, her pleasures and her imaginings.

The act of painting is able to produce infinite potential scenarios. For de Laval, painting is a space of pure imagination where anything can happen at any moment. With this in mind, the artist resists the intellectualisation or politicisation of her works, choosing instead to let joy and excitement govern her painted world. De Laval’s paintings do not fit into the mould of any particular movement, style or narrative. They elude the boundaries of specific meanings, but they can be linked together by their singular sense of humour and their reoccurring motifs.

The paintings de Laval presents in Wild Things Happen in Stillness are exemplary of the artist’s ribald imagination that continually pushes the limits of our expectations. In Love? Worry not. It will just hit you like a comet, a female figure stands in the interior of an art gallery; paintings appear within de Laval’s painting itself bordered in gilded golden frames. The figure peers behind her with an expression of mild surprise as a comet materialises from nowhere to strike down her male pursuer. A pair of suited legs and arms protrude from a sizzling and sunken hole in the gallery’s shining wooden floor. A small Pomeranian dog locks eyes with the viewer, grinning cheekily. Dogs have become a trademark of de Laval’s paintings, indicating the artist’s love for the animal, but also acting as characters themselves. Throughout de Laval’s works dogs appear in all shapes and sizes, displaying anthropomorphic qualities and often acting as extensions of the personalities of their owners. In many cases, the dogs are additional villains, mirroring the traits of their wicked human counterparts. In all instances, these humanised animals add to the distinctive light-heartedness of de Laval’s artworks.

Through her paintings de Laval aims to convey an unparalleled sense of excitement. Often this excitement is communicated through sex, violence or both. The slower the kiss the faster the heartbeat demonstrates this dual feeling of excitement. De Laval’s characteristic sense of humour comes into play as two scenes seemingly unfold as one in this painting. We see a romantic champagne picnic as a man and woman embrace one another atop a vibrantly green cliffside beneath a powder blue sky. After closer study, we notice the glint of a blood-stained dagger in the man’s possession and that the woman he holds dangles over a precipice while a shark waits eagerly, jaws open, in the thrashing waves below. The violent elements within de Laval’s paintings engage with and enliven our repressed feelings; the artist paints the way that many of us would like to express ourselves when we are angry, but we cannot. The world within de Laval’s works is not restricted by rules or by social convention. Her paintings therefore push boundaries, displaying what we would not normally do but what we perhaps want to deep down.

In essence, with Wild Things Happen in Stillness, Oh de Laval reminds us that art can exist purely to excite us for our pleasure and our entertainment. In a world where we are constantly encouraged to pick up the pace, de Laval invites us to take a moment for ourselves and just have fun.

Oh de Laval (born Olga Pothipirom, 1990, Warsaw) is half Polish, half Thai. Her ribald erotic expressionism captures a rough, savage emotion that aims to encapsulate licentious psychological undercurrents. De Laval studied for two years at the Academy of Fine Arts Warsaw, before moving on to study sociology at the University of Warsaw, where she became fascinated by Durkheim’s notions of deviance, something that continues to influence her work today










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